Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Iceland and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1974.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Jakarta kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Wasted Youth to the disco kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Scratch Acid. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Malaria!,
June of 44,
Alison Limerick,
Eli Mardock,
Lyres,
Todd Terry,
Moebius,
Scratch Acid,
London Community Gospel Choir,
DNA,
Bauhaus,
Susan Cadogan,
Nico,
Wasted Youth,
Bizarre Inc.,
Andrew Ashong & Theo Parrish,
Blancmange,
Junior Murvin,
Mary Jane Girls,
Graham Central Station,
The American Breed,
The Martian,
Outsiders,
Gil Scott-Heron & Brian Jackson,
Maleditus Sound,
Al Stewart,
Ken Boothe,
Mars,
Mad Mike,
Trumans Water,
Nirvana,
Selector Dub Narcotic,
Rhythim Is Rhythim,
Joensuu 1685,
Anakelly,
the Bar-Kays,
The Pop Group,
Gabor Szabo,
Ituana,
Sällskapet,
Skaos,
Parry Music,
The Mojo Men,
Organ,
Aural Exciters,
La Düsseldorf,
Black Sheep,
Khruangbin,
Marcia Griffiths,
Jesper Dahlback,
Blossom Toes,
Johnny Clarke,
The Electric Prunes,
Popol Vuh,
Brass Construction,
Bootsy's Rubber Band,
Richard Hell and the Voidoids,
The Mighty Diamonds,
Erasure,
Bronski Beat,
Gong,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.